Poets & Writers Blogs

Ama Codjoe Is Alone in the Woods

Social justice activist and Cave Canem fellow Ama Codjoe blogs about writing in form and five days in the woods.

In September of 2011, equipped with lessons from the P&W–supported Cave Canem workshop with Marilyn Nelson and with Annie Finch's A Formal Feeling Comes: Poems in Form by Contemporary Women, I drove to a friend's country home in Pine Plains, New York. I spent five days alone in the woods (with deer, wild turkey, trees, and books as worthy companions).

Most writers acknowledge the benefit of retreat. Getting away enabled me to turn off technology and turn any distractions into sustenance: cooking, watching the lake shift and move, or watching a deer watching me. In this way some retreats are a coming towards: towards nature, towards community, towards solitude, towards discipline. I am grateful to have benefited from different kinds of retreats where I have learned about the craft of poetry, the power of community, and the sacredness of solitude.

Writing is a creative act that one performs alone, but when I began writing sonnets after Julia Alvarez, I was communing with the poems I had read and the poets I had heard. I am not sure that I would have decided to write thirty-three sonnets without my time in the woods. I know that I wouldn't have begun writing a series of sonnets without the P&W–supported regional Cave Canem workshop with Marilyn Nelson in 2009.  We explored the virtues of formal poetry, and it was then that I first dipped my toes into the waters of the sonnet.           

Since September, I have crafted sonnets about mermaids, desire, fishermen, and seascapes. They are the most personal poems I have written. They are poems that benefit from the syllabic, rhythmic, and aural constraints of formal verse. The word sonnet comes from the Italian word sonetto meaning "little song." Through composing and revising sonnets, I am singing to myself, to Alvarez, to Nelson, and to the deer and turkey in Pine Plains too.

Photo: Ama Codjoe. Credit: Matthew Goldberg.

Support for Readings/Workshops in New York City is provided, in part, by public funds from the New York State Council on the Arts, and the Department of Cultural Affairs, with additional support from the Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, the A.K. Starr Charitable Trust, and Friends of Poets & Writers.

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Sacramento Conference Puts the Life in Life Stories

The fifth annual Our Life Stories Writers’ Conference took place April 28 at Cosumnes River College in Sacramento. This one-day conference, co-sponsored by the Ethel Hart Senior Center and Cosumnes River College, and supported by P&W, is designed for seniors and others interested in documenting their life stories. Project directors Alicia Black and Bubbles Miguel describe the event.

The celebration began the evening of Friday, April 27, when more than eighty people gathered at the Hart Senior Center in downtown Sacramento for a pre-conference reception. Attendees sipped port wine and dunked fresh fruit into a multi-tiered chocolate fountain while mingling with conference faculty and fellow participants. Faculty greeted participants, signed books, and read their own work for the crowd.

Early the following morning, more than 150 attendees and volunteers streamed past manicured lawns and flowering trees on the Cosumnes River College (CRC) campus to enter the conference room. Allegra Silberstein, poet laureate of the nearby town of Davis, kicked the day off with a reading. Jennifer Bayse Sander, a New York Times bestselling author, publisher, and former Random House senior editor, delivered the keynote address.

Participants dispersed to a nearby building to attend their selected morning workshops. The seven workshop offerings gave the writers an opportunity to learn about autobiographical narrative, poetry, memoir, and publishing. The workshops were led by a culturally diverse group of nationally and locally recognized writers. Offerings included “Painting with words: creating atmosphere in settings” by Kerstin Feindert, “Your life as a list of ten” by Susan Kelly-DeWitt, and “Who said that? Voice and point of view in fiction” by Kakwasi Somadhi.

After a catered Italian lunch accompanied by an enticing slice of strawberry cheesecake, Ginny McReynolds, CRC Dean of Humanities and Social Science, gave a keynote talk about the importance of writing on a regular basis. Once the afternoon workshops concluded, participants returned to submit their evaluations for prizes donated by local restaurants, private individuals, and a local winery. As attendees departed, many reported that they had met new people and enjoyed the chance to network and eat great food. Many promised to return next year, as their life stories continue to unfold.

Above: Emmanuel Sigauke signs a book. Left: Susan Kelly-DeWitt (standing) leads a workshop. Credit: Martin McIllroy.

Major support for Readings/Workshops in California is provided by The James Irvine Foundation. Additional support comes from the Friends of Poets & Writers.

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Literary Agents Become Owners of ICM

After more than a year of negotiations, a group of agents at International Creative Management (ICM) successfully reached an agreement to purchase a majority ownership of the company from the private-equity firm Rizvi Traverse Management LLC, and longtime ICM chief executive officer Jeffrey Berg. The Hollywood talent agency will now be known as ICM Partners and is controlled by a partnership of twenty-nine agents and executives from its film, television, publishing, and touring departments. The financial details of the agreement weren't revealed.

ICM was formed in 1975 through the merger of International Famous Agency and Creative Management Associates (which were themselves formed by earlier mergers). Rizvi Traverse Management paid ICM's founding owners seventy million dollars for a majority interest in the agency in 2005, which allowed ICM to purchase the Broder Webb Chervin Silbermann literary agency in 2006. According to the Wall Street Journal, in recent years, there were grumblings among the agents that Rizvi, a Connecticut-based financial company, did not show significant interest in the agency.

In the publishing world, one of ICM's best-known agents is Amanda "Binky" Urban, who represents Charles Frazier, Mary Karr, Cormac McCarthy, Toni Morrison, Haruki Murakami, and Donna Tartt.

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What's to Become of the Orange Prize?

Earlier this week, just days out from the announcement of the 2012 Orange Prize for Fiction winner, news broke that the prize's namesake, telecommunications company Orange, will be ceasing its sponsorship after this year. The award, which honors women novelists and comes with a thirty-thousand-pound purse (approximately forty-seven thousand dollars), has been given annually since 1996.

Despite the dissolution of what by prize director Kate Mosse's estimate was a successful partnershipaccording to a quote from Mosse in the Huffington Post, over the years, the prize has afforded Orange "the equivalent of 17 million pounds in advertising revenue"prize administrators are keeping an optimistic tone about the impact of the move. "This is the end of an era, but no major arts project should stand still," Mosse wrote in a letter on the prize website. "We are very much looking forward to developing the prize for the future and working with a new sponsor to ensure the prize grows and plays an even more significant part in the years to come."

According to Mosse, a number of potential "brand partners" are already in talks with the Prize for Fiction administrators.

Past winners of the prize, which, while based in the United Kingdom, has never been limited to U.K. authors, include American novelists Barbara Kingsolver, Ann Patchett, and Marilynne Robinson, Nigerian author Chimamanda Ngozi Adichie, and Canadian authors Anne Michaels and Carol Shields. This year's shortlist is comprised of titles by Americans Madeline Miller, Cynthia Ozick, and Patchett, Canadian author Esi Edugyan, Irish author Anne Enright, and British author Georgina Harding. The final recipient of the Orange Prize will be announced at a ceremony in London on May 30.

In the video below, the shortlist of this year's award is announced at the London Book Fair.

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Amazon's Breakthrough Contest Introduces Literary Novelist

Amazon announced yesterday the three finalists for its fifth annual Breakthrough Novel Award in fiction. Along with two genre titles, Portland, Oregon, writer Brian Reeves's novel, A Chant of Love and Lamentation, was selected by editors at Penguin for the shortlist.

Reeves's story blends Hawaiian history—the author lived on the islands for a number of years—with fictional events that see the state moving toward regaining sovereignty. "This novel comes from my sincere hope that the people of Hawaii may someday soon reclaim what was once theirs," says the author in his bio note.

Also shortlisted were Alan Averill's The Beautiful Land, a "literary-flavored time-travel tale," in the words of literary agent and contest reviewer Donald Maass, and Charles Kelly's historical mystery, Grace Humiston and the Vanishing.

Registered customers of Amazon are now invited to vote on the winner of the novel competition, who will receive a publishing contract from Penguin and a fifteen-thousand-dollar advance against royalties. Voters can read a snippet from each book on the Amazon website or, if they have access to the Kindle, download an extended excerpt for free. The winner will be announced on June 16.

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Amazon's Breakthrough Contest Introduces Literary Novelist

Amazon announced yesterday the three finalists for its Breakthrough Novel Award in fiction. Along with two genre titles, Portland, Oregon, writer Brian Reeves's novel, A Chant of Love and Lamentation, was selected by editors at Penguin for the shortlist.

Reeves's story blends Hawaiian history—the author lived on the islands for a number of years—with fictional events that see the state moving toward regaining sovereignty. "This novel comes from my sincere hope that the people of Hawaii may someday soon reclaim what was once theirs," says the author in his bio note.

Registered customers of Amazon are now invited to vote on the winner of the novel competition, who will receive a publishing contract from Penguin and a fifteen-thousand-dollar advance against royalties. Voters can read a snippet from each book on the Amazon website or, if they have access to the Kindle, download an extended excerpt for free. The winner will be announced on June 16.

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Ama Codjoe's Introduction to Formalism

Social justice activist and Cave Canem fellow Ama Codjoe blogs about participating in a P&W–supported Cave Canem regional workshop with formalist poet Marilyn Nelson in 2009. 

In fall 2009, Poets & Writers supported a Cave Canem regional workshop with Marilyn Nelson. Nelson is a goddess of formal poetics. Before taking a workshop with Marilyn I had little experience with sonnets, sestinas, or ballads. Through a series of lessons on meter, rhyme, and phrasing, I learned the arithmetic of formalism.

Nelson asked us to pay particular attention to the construction of the poetic line. Through a sequence of assignments we experienced how careful and intentional construction could lead to a meaningful, surprising, and exciting composition. Formal verse provides the writer with added parameters. Nelson’s poetry exhibits how such constraints used skillfully can produce poems that are wild, challenging, liberating, and free. Gwendolyn Brooks and Robert Hayden offer examples of how constraint or restraint can be used to describe terror, horror, beauty, and oppression. In these ways formal poetry holds paradox with nimble hands.

To conclude our time together Marilyn asked us to write one sonnet. About two years later, a childhood friend reminded me of a series of poems that we read when we were teenagers. “Don’t you remember?” she asked. “Who touches this poem touches a woman.” I did remember. The last line of Julia Alvarez’s last sonnet was a line that moved my teenage-becoming-a-woman self. Rereading those sonnets from Alvarez’s first book, Homecoming, was a kind of homecoming. I admired the way her sonnets sounded both casual and intimate. The themes she was obsessed with: relationships, God, marriage, and womanhood resonated with the preoccupations of my thirty-something mind and heart.

By experiencing the resonance of a poetic line as a teenager and returning to that line as an adult, I began a process of constructing, revising, and building a sonnet cycle of my own. I am grateful for Nelson’s instruction and for an introduction to formalism that continues to shape and propel my work.

Photo: Ama Codjoe. Credit: Amanda Morgan.


Support for
Readings/Workshops in New York City is provided, in part, by public funds from the New York State Council on the Arts, and the Department of Cultural Affairs, with additional support from the Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, the A.K. Starr Charitable Trust, and Friends of Poets & Writers.

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Michelle Tea’s Queer Space with Homemade Cookies

Poet and writer Michelle Tea has been both a P&W–supported writer and presenter of literary events. Her many books include a poetry collection, novels, and memoirs. Tea's novel, Valencia, won the 2000 Lambda Literary Award for Best Lesbian Fiction. Tea founded the literary nonprofit RADAR Productions and co-founded the spoken word tour Sister Spit. We asked her a few questions about her experience as a writer and reading series curator.

What are your reading dos?
Be relaxed! Audiences are as interested in YOU as they are in your piece. Ad-libbing through the work (if the work allows for it) is generally charming; some of my favorite readers will break off the page and address the audience in a spontaneous, natural way.

What are your reading don’ts?
Don't take it so seriously. You are not delivering a testimony to Congress. Don't speak in POETRY VOICE. You know what I mean. There are writers whose work I enjoy on the page, but I can't listen to them read it because that inflection makes me leave my body.

How do you prepare for a reading?
I don't, unless you count neurotically changing my mind about what I'm reading and wearing "preparation." I call it mental illness. Not everything works best aloud. I try to not feel the audience too much because it’s easy to mistake silence for boredom, and then I get nervous and start acting desperate. I try to read as if everything I'm delivering is AMAZING.

What’s the strangest interaction you’ve had with an audience member?
Sometimes a person thinks that just because you are comfortable reading something sexual in the very specific and controlled environment of a reading, it means you are down for discussing sex with random strangers. And I actually enjoy that no more than the average person, which is to say, not much.

What’s your crowd-pleaser, and why does it work?
They all seem to revolve around shock. In Rose of No Man's Land, it's when a character throws her dirty tampon at a boy who is harassing her. In Valencia, it’s an unusual sex scene. In Rent Girl, it’s a very funny fake orgasm contest between two prostitutes—which allows me to caw like a bird whilst performing, so I like it, too.

What makes the RADAR Reading Series unique?
My reading series has been running for almost nine years. I mix up my readers—unpublished, published, well-known, emerging, and I bring in graphic novelists, video artists, and photographers. It's free. There’s a Q&A  segment, and I hand out homemade cookies to whoever asks questions. (There are always questions!)

It's queer like a queer bar—anyone can go in, but you know it’s a space that has prioritized queer people. As a queer person I spend tons of time in straight spaces where queers are welcome, but the spaces are straight, even though often they aren't designated as such because straight people aren't accustomed to thinking about space like queers are. RADAR uses that model—yes, of course everyone is welcome, but the space, the event, is queer.

What do you consider to be the value of literary programs for your community?
My immediate community is a queer community that still suffers from a lack of representation in all media, especially literary, even in San Francisco. The value of having a place you can go to see elements of your experience and community reflected back at you in a thoughtful, honest, artistic manner is HUGE. I was just passing through San Francisco when I came here in 1993, but the reason I stayed is that the work I do—writing, curating events, and promoting other writers—is so supported here. And it's supported in part by Poets & Writers, so thank you!

Photo: Michelle Tea. Credit: Food For Thought Books.
Major support for Readings/Workshops in California is provided by The James Irvine Foundation. Additional support comes from the Friends of Poets & Writers.

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After Decades-Long Hiatus, a Return to Poetry Brings a First Book

The Poetry Foundation announced yesterday the winner of its 2012 Emily Dickinson First Book Award, given occasionally for a poetry collection by a writer over forty.

Maryland writer Hailey Leithauser, born in 1954, received this year's honor for her collection, Swoop, which comes with a ten-thousand-dollar prize and publication of the book by award-winning indie Graywolf Press next year.

Leithauser, who returned to poetry in 2000 after taking decades off from writing post-college, has seen her poetry published in Antioch Review, Gettysburg Review, Poetry, and Sou'wester, as well as in The Best American Poetry 2010. In 2004 she won a "Discovery"/The Nation Award (now the "Discovery"/Boston Review Award). The poet, who studied English as an undergraduate and now holds a master's of library and information science, has worked most recently as senior reference librarian at the Department of Energy in Washington, D.C., though she's also taken turns as a salad chef, purveyor of gourmet foods, real estate office manager, copy editor, phone surveyor, and bookstore clerk.

“Leithauser is a risk-taker," says Graywolf editor Jeff Shotts. "She is innovative—with spirited titles and musical outbursts—but also nods to poetic tradition with rhyming sonnets and other lyric techniques...I am engaged, throughout, and admire her wide-ranging talent.”

The Poetry Foundation will honor Leithauser along with 2012 Ruth Lilly Poetry Prize winner W. S. Di Piero at a ceremony in Chicago on June 11.

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Working With Literary Agent Emilie Jacobsen

The most recent episode of the literary podcast Other People with Brad Listi features novelist Emily St. John Mandel, whose new book The Lola Quartet, is just out from Unbridled Books. The entire interview is worth a listen—Emily and Brad discuss a wide range of subjects, including literary life in Brooklyn, Emily's career in dance, and taking language courses in French leading up to a book tour of France. However, around the twenty-five minute mark Mandel recounts her first experience with an agent—which entailed a rejection with generous notes, a massive revision that took six months, and a resubmission before she was taken on as a client. The agent was Emilie Jacobsen, who landed a job at Curtis Brown Literary when she was just out of college in 1946, and worked there until she passed away at the age of eighty-five, in 2010. At the time, Emily St. John Mandel wrote a remembrance of Ms. Jacobsen for the Millions.

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Ama Codjoe Teaching Artistry

Social justice activist and Cave Canem fellow Ama Codjoe blogs about her work as a teaching artist with the P&W-supported Girls Educational Mentoring Services (G.E.M.S.), a New York City based organization that aims to support young women who have been commercially sexually exploited and domestically trafficked.

I teach social justice and poetry through asking myself the same big questions I pose to students. As a teaching artist I am invested both in my life as a teacher and in my life as an artist. These two pieces of my identity inform one another. When I assign the group a poem to write, I often do the assignment myself. While G.E.M.S. participants were interrogating what it means to be woman, I was asking myself similar questions in my artistic practice.

The inspiration flows in both directions. Just as frequently as I find myself using my teaching practice to inform my artistic practice, I also bring strategies, poems, questions, and obsessions from my writing life back into the classroom. If I look back at periods when I have been teaching a particular group of students and then examine the poems that I wrote during that time I can often find traceable themes and continuities. For five weeks of teaching and five weeks of writing we seemed to return to these central questions: What do we invoke? What do we want? What do we dream?

To close our time together, young women who participated in the P&W-supported workshops read their poems at an art exhibit that also featured their visual art. Listening as their confidence, nervousness, clarity, and power filled the room, I was impressed by how these young women had turned to me, turned to each other, and turned to the page. The space where we write, discuss, reveal, and revel is a space of courage and power—is a political space. The work of self-reflection, writing, and creativity is worthy work, and as Audre Lorde insists, poetry is not a luxury. In other words the work of a poet is dangerous and life-changing work.

Photo: Ama Codjoe. Credit: Evelyn Bojorquez.

Support for Readings/Workshops in New York City is provided, in part, by public funds from the New York State Council on the Arts, and the Department of Cultural Affairs, with additional support from the Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, the A.K. Starr Charitable Trust, and Friends of Poets & Writers.

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Charles Baxter Wins 2012 Rea Award

The Associated Press reported earlier today that short story writer Charles Baxter has been awarded the 2012 Rea Award for the Short Story, an honor that includes a prize of thirty thousand dollars. Given annually to recognize a writer's body of work, the Rea Award has been given in the past to writers such as Andre Dubus, Grace Paley, Eudora Welty, and Tobias Wolff.

A statement by the prize judges praised Baxter's "original mind and ironic wit" and "acute feeling for the landscape of marriage, childhood, and art." Baxter's most recent story collection is Gryphon (Pantheon Books, 2011). He has also authored several novels and books on craft, including Burning Down the House: Essays on Fiction (Graywolf Press, 2008).

In the video below, Baxter discusses what brought him back to the short story after he published five novels, and how "to get a sense of wonder into a short story" in the modern age.

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Writing Workshops at the Marillac Family Shelter in Albany

Marea Gordett, owner of Big Mind Learning, an educational firm serving students in the Capital region of New York, and author of the poetry book, Freeze Tag, published by Wesleyan University Press, blogs about her P&W–supported writing workshops at the Marillac Family Shelter in Albany.

When I moved from Boston to Albany, New York, in the 1990s, I was bereft at losing the teaching connections I had found in a large metropolitan area. While I knew there were various programs in the area—the New York State Writers’ Institute was one—I didn’t feel a part of the literary community. A friend recommended I apply to the Readings/Workshops program at Poets & Writers for funding, and I’ve been thrilled ever since to find this network again through my work in community centers, libraries, and senior centers throughout Albany County and at the beautiful Arkell Museum and Canajoharie Library in Montgomery County.

In these workshops, I am not only aware of what I receive from and give to writers, but also how the group itself develops its own identity and offers its own gifts. When we create a space that allows us to freely write about joy, pain, and longing and encourages others to listen to these often long-withheld emotions—amazing changes can happen. Regardless of differences in age and experience, we all write from a deep, secret place. And then we share, which helps us feel a growing sense of peace and helps to diminish loneliness.

This was especially evident to me this winter when I conducted a workshop at the Marillac Family Shelter in Albany. Part of St. Catherine’s Center for Children, this emergency housing program for homeless families meets the initial need for shelter and assists families in empowerment and education. I found a warm welcome when I proposed a writing workshop for teens and mothers called “You Are Unlimited.” In this pilot program, held once a week for five weeks, a core of eight people and a constantly-changing extended group gathered in a well-maintained recreation/computer room and wrote, shared, and performed their poems and life stories. As I entered the room every Thursday, mothers with babies and young children would clear the space and shut the door. The dedicated teens, with their mothers usually sitting on couches a few feet away, would be hushed and ready to write, even after a full day of school.

Participants wrote long Delight Chants in response to Nikki Giovanni’s poem, “Ego Tripping,” and celebratory litanies after hearing Nazim Hikmet’s poem, “Things I Didn’t Know I Loved.” After overcoming their initial resistance and with support from staff members, the writers eagerly embraced the free-form poems and wrote lines such as the following:

My real name is J.H.
I want it to mean beautiful. I am a tornado.
I am a spinner. I am a very big swirl.

The enthusiastic staff members wrote with the students and mothers, gently encouraging them. When one of the mothers shared her work, the others followed, and eventually everyone lined up to have his or her work videotaped, accompanied by the applause and shouts of an appreciative audience. When one staff member read her words, everyone nodded in agreement:

I didn’t know I loved the table
until I missed the love that surrounded it.
I didn’t know I loved rice
until we had to do without it.
I didn’t know I loved the tides
until they washed away my impatience.

This spirit of warmth and camaraderie vanquished pessimism and sadness, if only for an afternoon. I’m tremendously grateful to the support of Poets & Writers for letting my teaching come to life again, and helping me bring to various corners of my region workshops that help restore trust. Especially during this time of resignation, Poets & Writers gives solace and hope.

Photo: Workshop participant. Credit: Marea Gordett

Support for Readings/Workshops in NewYork is provided, in part, by public funds from the NewYork State Council on the Arts, with additional support from the Friends of Poets & Writers.

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Five Stories From the 2012 Caine Prize Finalists

The finalists for the thirteenth annual Caine Prize for African Literature, the ten-thousand-pound award (approximately sixteen thousand dollars) given for a short story written in English by an African writer, were announced last week. The shortlist of five was selected from 122 story entries by authors from fourteen African countries.

"This prize is more than just another award that will sprinkle fairy dust on a single, lucky writer every yearit is a force for change," says Bernardine Evaristo, this year's chair of judges, in a post on the Caine Prize blog. "I’m looking for stories about Africa that enlarge our concept of the continent beyond the familiar images that dominate the media: War-torn Africa, Starving Africa, Corrupt Africa - in short: The Tragic Continent. I’ve been banging on about this for years because while we are all aware of these negative realities, and some African writers have written great novels along these lines (as was necessary, crucial), isn’t it time now to move on? Or rather, for other kinds of African novels to be internationally celebrated."

Furthering the prize's goal to widen the global audience for new and innovative African fiction, the venues that originally published the shortlisted storiestwo U.S. magazines, McSweeney's Quarterly Concern and Prick of the Spindle, among themhave released digital editions of the works. Below is the list of this year's finalists, with first lines from each story, and links to the pieces in full (in PDF format).

Rotimi Babatunde of Nigeria for "Bombay’s Republic," published in Mirabilia Review, out of Lagos, Nigeria

"The old jailhouse on the hilltop had remained uninhabited for many decades, through the construction of the town’s first grammar school and the beginning of house-to-house harassment from the affliction called sanitary inspectors, through the laying of the railway tracks by navvies who likewise succeeded in laying pregnancies in the bellies of several lovestruck girls, but fortunes changed for the building with the return of Colour Sergeant Bombay, the veteran who went off with the recruitment officers to Hitler’s War as a man and came back a spotted leopard."

Billy Kahora of Kenya for "Urban Zoning," published in McSweeney's Quarterly Concern, out of San Francisco

"Outside on Tom Mboya Street, Kandle realized that he was truly in the Zone."

S. O. Kenani of Malawi for "Love on Trial" from the his debut collection, For Honour and Other Stories (Random House Struik, Cape Town, South Africa)

"Mr Lapani Kachingwe’s popularity has soared."

Melissa Tandiwe Myambo of Zimbabwe for "La Salle de Départ," published in Prick of the Spindle, out of New Orleans

"Like so many omens, she had missed its significance at the time."

Constance Myburgh of South Africa for "Hunter Emmanuel" from Jungle Jim, out of Cape Town, South Africa

"Hunter Emmanuel shouldered his chainsaw and looked up at the trees."

If you're craving a little analysis with your reading, Aaron Bady, a PhD candidate in African literature at University of California, along with some choice friends, will be blogging about the Caine Prize stories for the next few weeks at the New Inquiry. (Thanks to the Millions for this tip.)

The announcement of the winner will take place at the Bodleian Library in Oxford, England, on July 2. More details about this year's finalists and the past prize winners, who include Helon Habila, E. C. Osondu, and Binyavanga Wainaina, is avaialble on the Caine Prize website.

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Ama Codjoe: In the Life

For the month of May, social justice activist and Pushcart-nominated poet Ama Codjoe blogs about the P&W–supported workshop series she facilitates at Girls Educational & Mentoring Services (G.E.M.S.), an organization that provides opportunites for girls and young women who have been sexually exploited, and about participating in a P&Wsupported Cave Canem regional workshop in 2009.

G.E.M.S. is a New York City based organization whose mission is to support young women from the ages of 12–24 who have been commercially sexually exploited and domestically trafficked. Young women who receive support from G.E.M.S. often describe themselves as being “in the life."

For five weeks in the fall of 2011, young women from G.E.M.S. showed up to write in community. We gathered around a table, asking unanswerable questions and drafting poems that were received with admiration, thoughtful critique, and applause. In my work as an educator, a student has never failed me. When it comes to poetry and writing, young people always have something to share—it is my job to provide a way for students to enter into a poem.

One entryway, Candy Chang's public art project “Before I Die,” urged us to develop lists of what we wanted to do or say before we died. We took our lists and turned them into poems that confided in our mothers, spoke to our children, cursed out good-for-nothings, and professed genuine love. We always filled the page. There was never enough time to write.

Through carefully crafted poems, young women from G.E.M.S. revised the phrase “in the life” to mean “in the life of our poetry,” “in the life of our innermost world,” and “in the life of our power.”

Photo: Ama Codjoe. Credit: Matthew Goldberg.


Support for
Readings/Workshops in New York City is provided, in part, by public funds from the New York State Council on the Arts, and the Department of Cultural Affairs, with additional support from the Louis & Anne Abrons Foundation, the Axe-Houghton Foundation, the A.K. Starr Charitable Trust, and Friends of Poets & Writers.

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